Today marks five years since I first brought Luna home from the Santa Cruz County animal shelter. Time certainly does pass quickly. We celebrate this anniversary (otherwise known as Luna’s “Gotcha Day”) with a look back at photographs from our five years together.
Here she is back in 2005.
and then in 2006
and finally in 2007.
That series of photos ends after we moved to San Francisco in 2008, but there is no shortage of images of Luna basking in sunlight. Here she is in 2008 (outdoors):
and 2009:
and finally this year:
(There are so many photos it can be hard to choose just one representative.)
Our friends at the Cat Blogosphere made an announcement today along with this nice banner:
Please join us in wishing Luna a “Happy 5th Gotcha Day!”
Sometimes things linger undone for a quite a while. And that is the case with reviewing the Quickening Moon Concert, which I am finally getting around to doing as the next Full Moon concert is about to happen. Basically, the process goes like this. I wait a few weeks to look at the video of my own performance with a fresh perspective. I review the videos. Then post them online. Then a few more weeks pass as life intervenes. So here were are, finally getting to it many “moons” later. Memories of course fade over time, but even going by my own recollections, there is much to recall fondly. Bottom line is that it was a really good performance, in fact I would consider it one of my best solo electronic sets to date. This was in no small part to the advance preparation, but also to the audience, which filled to the Luggage Store Gallery to standing-room only capacity!
This was also one of the larger setups, featuring the Octave CAT vintage analog synthesizer, E-MU Proteus 2000, DSI Evolver, Korg Kaoss Pad, a Mac laptop running Open Sound World and Max/MSP, and the Monome controller, along with an array of my folk instruments from China and India. Even the iPhone made an appearance as an instrument.
[Click images to enlarge.]
Of course, the highlight of the set was the premier of 月伸1, featuring improvised electronic music set against a video of Luna. Musically, I focused on the Octave CAT (seemed appropriate) with the other electronic instruments in a supporting role. You can see a full video of the performance of this piece below:
The music was improvised live, with some prepared guidelines. In this way, it was reminiscent of the live music performances from old silent films. I kept the music relatively sparse and maintained the focus on the visual elements, which moved back and forth between clips of Luna and abstract visual elements (you can read more about the video production here). The audience clearly responded to the video of Luna and the music, and their laughter at very points reminded just how funny a piece this was. It was easy to lose sight of that in the hours of very detailed and very technical preparation, and one of the delights of playing in front of a live audience. I also heard from people that could tell they were able to sense the affection for Luna that came through in the video, though the long shots and the breaks in the otherwise silent video where her voice came through.
The balance of the set leading up to 月伸1 featured various combinations of electronic and acoustic instruments. The monome was my main controller in several of the other pieces, including the opener that focused and live sample loops and patterns from the folk instruments.
I played the instruments live, and then replayed the samples in various patterns on the monome to create complex timbral and rhythmic patterns. I also used the monome in a later piece to control some very simple but musically interesting sound synthesis, as can be seen in this video.
The lights on the monome are visually compelling, but also provide a link for the audience between the actions (which are really just button pressing) and the music.
Several of the pieces including strong rhythmic elements, which helped propel the set forward – I even saw at least one person “grooving out” to one piece.
I replayed several of the pieces (but not the video) in another performance a few days later at the Meridian Gallery. I certainly hope I will have an opportunity to the video again as well.
My performance was followed by the premier of Polly Moller’s Genesis. Genesis is “a musical experiment in which the M-theory of the 11-dimensional universe combines with the inward and outward spiral of the Western magical tradition.” The 11 member ensemble represent the 11 dimensions (which include Universal Time, the three spatial dimensions, and seven others) who combine to bring the “New Universe” into being, as portrayed by Matt Davignon on drum machines.
[Photo by Tom Djll.]
Polly Moller conducted the piece, not from the traditional podium in front of the ensemble, but rather by walking in an inward and outward spiral among the performers. As she walks by, wind chimes in hand, different performers enter or exit. As the New Universe comes into being, Matt Davignon’s electronic performance emerges, culminating in an extended solo as the 11 performers representing the “parent dimensions” fade out.
Quite fortuitously, someone turned my video camera to face the ensemble, so I was able to capture some video of the performance. In the clips below, one can see the conducting by walking in a spiral, as well as parts of the New Universe solo.
At the end of April, I was visiting open studios along Islais Creek. I have been here several times before, and took advantage of the evening like to take photos along the creek. The main landmark, this old industrial crane, should be familiar to long-time readers of this site:
Walking around, I espied a small tuxedo cat walking around on the ground. Once it saw me, it immediately ran off and through a chain link fence into the neighboring lot. But he (or she) did come out soon, and I was able to get some photos through the fence:
The cat was definitely curious but wary . A few minutes later, the cat posed on some wooden objects that provided a geometric backdrop (once again, from behind the fence).
When I see cats among the old buildings or lots, they are often skittish and immediately run to hide. So it’s rare that I have a chance to intersect cats and industrial landscape this way.
Our next Reconnaissance Fly gig will be here on May 15.
We will be performance in the festival on Saturday, May 15, at 1PM at Beatnik Studios, 2421 17th Street @ Broadway, in Sacramento. Too bad we’re not at Luna’s Cafe.
This is the debut of our new quartet lineup, featuring myself, Polly Moller, Tim Walters on bass and electronics, and Noah Phillips on guitar. We have been perfecting our “Flower Futures” cycle featuring spoetry (poetry based on spam messages) and taking advantage of the sonic and musical options of our expanded lineup.
So if you are in the Greater Sacramento Metropolitan Area (?) on the 15th, do come check it out.
The theme of this weekend’s Photo Hunt is addiction, which leads to the obligatory catnip photo for Weekend Cat Blogging:
Of course, Luna’s real addiction seems to be grass:
Not only does she enjoy her little pot of grass, but will also immediately find blades growing out of flower pots on our patio (something I wish she would not do).
Lest we pick on cats entirely, we at CatSynth have many other “addictions”:
This is perhaps still my favorite red-wine photo from the archives.
Here are some colorful cocktails, which also symbolize our “addiction” to color and geometry:
Sometimes the visual aspect is better than the taste.
We at CatSynth are certainly addicted to our environment, our life in the city, the visual stimulation, our home, music, playing with cats. In truth, one needs only to browse the pages of this site or visit our photo gallery to witness images of “addiction.” Blogging itself is an addictive activity, and indeed must be in order to be successful.
Today, we consider a work from the Today series by conceptual artist On Kawara. Since 1966, he has created many paintings in this long series, each consisting of the date the painting was created in simple white lettering set against a black background.
[On Kawara, MAR. 16, 1993 from the Today series. San Francisco Museum of Modern Art, http://www.sfmoma.org.]
I have seen it several times in the past, but when I wandered though the museum’s 75th anniversary exhibition a couple of weekends ago, there it was again. And there is no way I would pass up mentioning it today.
No sooner have I finished what was a really successful show this Thursday at the Luggage Store than I find myself with another gig this weekend at the Meridian Gallery here in San Francisco. Full info:
Meridian Gallery
535 Powell St, San Francisco.
10PM
$10 donation at the door.
I will be performing a 30-minute electronic set, including some of the pieces of this past Thursday. A combination of electronics and folk instruments from India and China.
No decision yet on whether Luna will be making another video appearance.
Over the last few days, I have largely been absorbed by preparations for my next performance. This one includes a more ambitious element, a 10-minute video entitled 月神1 featuring clips of Luna as well as abstract elements reminiscent of experimental filmmakers such as Stanley Brakhage or Gerhard Richter. The video will serve as a backdrop for live electronic improvisation – it is mostly silent, though I did include some sound at various points so the audience could hear Luna’s voice.
Here are a few example frames from the video:
Some of the video clips of Luna were featured here on CatSynth in the past, including her chattering video, or playing with her blue fish toy. The abstract elements were done is a software package called Processing, a programming language for images, animation and interactions.
Musically, I will plan to focus on a mixture of the Evolver and the Octave CAT synthesizers, along with software on the iPhone and laptop. Indeed, this is the first time I will be using the CAT live, mostly because I am reluctant to move it too often.
Of course, this will only cover about one third of the full performance, so I will be drawing from my repertoire of electroacoustic improvisation to round out the remainder of the time. Although I reuse elements, there is always something new to discover in them.
For those in the Bay Area who may be interested in checking it out, the full information is below:
Full Moon Concert Series: Quickening Moon Thursday, February 25, 8PM
Luggage Store Gallery, 1007 Market Street @ 6th Street, San Francisco.
The Full Moon Concert Series is an experimental music series offered by Outsound Presents, in partnership with the Luggage Store Gallery. Each concert explores the traditional lore of the Full Moon, and in January, the second annual “Quickening Moon” will feature new music springing to life. First up will be Amar Chaudhary in a solo electronica set (collaborating with his wonder-cat, Luna), followed by the world premiere of a new work for twelve improvisers by Polly Moller, entitled Genesis.
A few photos and thoughts from last Friday’s Reconnaissance Fly performance at Studio 1510 in Oakland.
I knew that Studio 1510 had a great acoustic piano, which I wanted to take advantage of particularly for our piece Emir Scamp Budge which features an extended jazz piano solo. But it turns that they also now have an actual Rhodes Stage Piano Mark II. I could pass up the opportunity to appropriate it for our set. Here is the Rhodes with the E-MU Proteus 2000 and Korg Kaos pad conveniently perched on top:
Together with the acoustic piano and MIDI keyboard for a rather massive keyboard setup:
Click the above picture to enlarge it and spot the cat!
Here we are getting ready to play the first note of our opening piece “Small Chinese Gong”.
[Photo by Tom Djll.]
The set went well from that point. I have not yet heard the recording, but I thought the first piece, as well as “One Should Never” (which was about as tight as I have heard us play it), “Ode to Steengo” – with the interplay of the text, the Kaos Pad, odd drum beats and Tim’s live electronic processing – and “Emir Scamp Budge” went particularly well.
Matt Davignon opened for us with a solo set featuring a live performance on drum machine and effects processors.
This was nominally a performance marking the release of his new CD Living Things, although none of the pieces in the performance were actually from the CD. But that was OK. I particularly remember the last piece in the set for a variety of reasons, including but limited to the subtle effects in the music.
Thanks to Scott Looney and Studio 1510 for hosting us!
An announcement for upcoming performances with Reconnaissance Fly (consisting of myself, Polly Moller and Tim Walters), as initially reported on Polly’s Journal.
We have six movements from Flower Futures all ready to share with you. We are all spoetry, all the time.
First, we’ll be on the radio, performing live on KUSF starting at 11:00 a.m. (U.S. Pacific Standard Time) on Thursday, February 4th. KUSF streams live on the internet.
Then we will be performing live at Studio 1510 the night of Friday, February 5th at 9ish PM. Studio 1510 can be found at 1510 8th Street, in Oakland, California. It’s conveniently near West Oakland BART.
Here’s our set list:
– Small Chinese Gong
– One Should Never
– The Animal Trade in Canada
– Ode to Steengo
– Emir Scamp Budge
– Seemed to Be Divided in Twain
– An Empty Rectangle
You can actually read more about spoetry and some of our pieces in my review of our show last November.
Our friend Matt Davignon will join us at 8ish PM for an opening set of extended drum machine soundscapes in support of his new album, Living Things.
